S5 E1 According to Harpy
by Harpy101
Summary: Fanfic screenplay for Season 5 Episode 1 of Downton Abbey. Sorry about the formatting. Action is in italics - my attempt to be more clear. Transferring formatting from Final Draft to Text has taken more out of me than it probably should have. Everybody's in this one, nearly.


INT. UPSTAIRS HALL. DAY.

_Anna is walking along the upstairs hall as the camera follows_  
_over her shoulder. She passes Lady Mary, then His Lordship_  
_and heads down the stairs, putting on her hat and coat. We_  
_follow her_

OUT THE SERVANTS DOOR AND DOWN THE PATH TO THE VILLAGE.

_It is a lovely day. Anna smiles as she walks with her basket_  
_over her arm, containing cloth items._

_Anna knocks on a door. Tiny, elderly Mrs. Wright answers._  
_She is full of energy and humor, and is very happy to see_  
_Anna._

ANNA  
Hello, Mrs. Wright.

_Mrs. Wright takes Anna's arm and scoops her inside. She_  
_pulls Anna down to kiss her firmly on the cheek. She takes_  
_the basket._

MRS. WRIGHT  
Oh, may I see them? How lovely. I  
can wear my gloves again! And my  
shawl! Thank you, my dear. With my  
eyes, I can't seem to mend as well  
anymore. I don't know if I ever  
mended this well! (Laughs)

ANNA  
I'm happy to. You know that. It's  
the very least I can-

MRS. WRIGHT  
Now, no more of that. We're  
friends, you and I are. The kettle  
is on. Let's sit.

_They sit at the modest table, set for tea, in the tidy room._

MRS WRIGHT  
Let's talk about the future now.  
But first, how are you feeling?  
Have you had anymore dreams?

ANNA  
Still not. It's been months now.

MRS. WRIGHT  
Are you still getting the fits of  
fear, seeing it all happen again?

ANNA  
No-

MRS. WRIGHT  
Not for some time now.

ANNA  
It's true. In fact rather than  
afraid or sad or even angry  
anymore, I feel-restless.

MRS WRIGHT  
Oh?

ANNA  
Yes, And while John loves me-

MRS WRIGHT  
Yes-

ANNA  
He's so-well he coddles me a bit  
much. It's become too much now.

MRS WRIGHT  
What do you sense from him?

ANNA  
He hasn't been angry in a long  
time. But he's so anxious over  
every little thing...

MRS. WRIGHT  
Anger is not the only thing this  
does to a man. He's afraid, too.  
He doesn't want anything else to  
happen to you.

ANNA  
It's because he loves me-

MRS WRIGHT  
Of course.

(BEAT)

MRS WRIGHT (CONT'D)  
And because he loves you, he will  
follow your lead.

ANNA  
You mean-

MRS WRIGHT  
If you put yourself first, and tell  
him what you need, he will catch up  
with you. It's what men do.

_Anna begins to tear up._

MRS WRIGHT (CONT'D)  
What is it?

ANNA  
You make me miss my mother. But  
I'm so grateful.

MRS. WRIGHT  
I'm the grateful one, my darling.  
There aren't many in the world like  
you.

ANNA  
(Sighs) I don't know what I would  
have done-

MRS WRIGHT  
Nor me, without you! We're not  
meant to bear our burdens alone.  
Secrets are poison, my dear.  
You'll never need to have another.  
Certainly not of that caliber, at  
any rate! Let me get biscuits,  
now.

EXT. DAY. FARMHOUSE.

_Edith stands at the door of the farmhouse with a small_  
_basket, full of jars of various foods. She looks back down_  
_the drive, then down the pathways to the right and left. She_  
_knocks._

_Mr. Drew appears at the door, stepping aside to let her in._

HIS LORDSHIP'S DRESSING ROOM. DAY.

_Mosely enters as Bates is brushing coats._

MOSELY  
Mr. Bates. May I have a word?

BATES  
Of course, Mr. Mosely.

MOSELY  
You're a married man.

BATES  
I have been blessed beyond  
deserving.

MOSELY

_Closes the door, then struggles to begin._

(BEAT)

BATES  
Are you ready to declare yourself?  
To Miss Baxter?

MOSELY  
I am. I think I am.

BATES  
No doubts?

MOSELY  
About her? No. Only-any advice on  
a cracking proposal?

BATES  
Sorry, no.

(BEAT)

MOSELY  
No, you won't tell me?

BATES  
No, I can't tell you.

MOSELY  
Why not?

BATES  
Because I've never proposed.

(BEAT)

MOSELY  
That's not much help.

_Bates is hanging coats._

BATES  
Miss Baxter - seems a bit different  
now, does she not?

MOSELY  
(Can't hide his pride) I believe  
so, yes.

BATES  
Stronger. More confident. More -  
direct.

MOSELY  
Yes, I agree.

BATES  
Well, you might wait it out.

MOSELY  
What?

BATES  
When she's sure she wants you for a  
husband, she will let you know.  
Then you have only to agree as  
graciously as possible.

MOSELY  
But how does one make that happen?

BATES  
You don't. All you have to do is  
pay attention. And then you will  
know without any doubt that the  
time is right.

MOSELY

_Thinks this over._

BATES  
Women are often a mystery.

MOSELY  
Yes-

BATES  
But Miss Baxter's regard for you is  
hardly shrouded in doubt. Be a  
good friend to her, listen to her,  
care for her. Let her see what  
kind of a husband you'll be.  
I don't pretend to know her heart,  
but I doubt you'll wait long before  
she makes her feelings clear-one  
way or the other.

INT. DAY. CARSON'S OFFICE. CARSON, HUGHES AND PATMORE.

CARSON  
I fail to see how this supports our  
standard of consistently.

PATMORE  
It's one lunch, one dinner and one  
breakfast. There won't be a party.  
No guests.

HUGHES  
Anna will be ready. And Baxter will  
help her.

PATMORE  
It'll be good for Daisy.

CARSON  
(too loudly for the room)  
Why am I suddenly the custodian of  
what's good for Daisy?

HUGHES  
Do you really fear that Anna and  
Daisy can't do the jobs? They can  
run the house and kitchen. They  
are ready.

CARSON  
What if I'm not ready? I mean, the  
house? This is very sudden.

HUGHES  
It's two weeks away. We're  
preparing now.

CARSON  
Suffragettes. All the way to  
London for a meeting of the  
suffragettes. Next you'll be  
wearing trousers.

PATMORE  
Oh! I wonder what they  
feel like to have on?  
(To Hughes) Can you  
imagine?

HUGHES  
(To Carson) What is it?

CARSON  
Must I explain further? You both  
disappoint me.

HUGHES  
Well, you must survive your  
disappointment.

_Carson begins to speak._

HUGHES (CONT'D)  
We've plenty of time to prepare.  
And no blustering on Anna and  
Daisy. Take a step back and let  
them prove themselves. They  
deserve a chance just like we all  
had.

CARSON  
We were different.

INT. FARMHOUSE

EDITH  
When will Mrs. Drew be back?

DREW  
Should be over an hour.

EDITH  
Where is she?

DREW  
Nursery. She's just woken up from  
her nap. The other children are  
playing with my eldest in her room.

_Edith sets the basket on the table and walks softly through_  
_the rooms of the clean but modest farmhouse. She pauses in a_  
_doorway. A shaft of sunlight falls across a crib. Edith_  
_creeps on her toes to the crib, peering down._

_The baby's face lights up. She stretches her arms up to_  
_Edith. Edith's expression is the softest and happiest we've_  
_ever seen as she reaches for her daughter._

EXT. DAY. TOM AND MARY DRIVING TOWARD THE FARMHOUSE

MARY  
I seem to be spending more time in  
boots than in heels. If I'm not  
careful my ankles will grow thick  
and I'll never find a husband.

_Tom (driving) looks over at her._

_Mary smiles._

TOM  
Is a champion emerging from the  
ranks yet?

MARY  
It's a numbers game. Much like  
agriculture. Quite a bit like  
pigs, in fact. Somewhat less mud.

_Mr. Drew comes out to greet them as they pull in the drive._

DREW  
Good morning, My Lady. I wasn't  
expecting you this morning.

MARY  
Unannounced visits, though rude in  
society are the hallmark of good  
management.

TOM  
(To Drew) Don't worry. She doesn't  
own a rapier.

DREW  
_Says nothing._

_Tom helps Mary out of the car._

MARY  
Tom, don't undermine your sister in  
law. I have the power to make you  
visit Granny. (To Drew) Where are  
all your lovely children?

DREW  
Well-they are all down for a nap,  
my lady.

_A child's happy shriek sounds from the house._

(BEAT)

MARY  
Nap times at the estate sound much  
the same. Tom? Shall we?

INTERIOR FARM HOUSE.

_Edith, holding her daughter, has been listening at the_  
_window._

OUTDOORS, DAY. A BENCHED PLAY AREA UNDER THE TREES. TOYS ARE  
STREWN ABOUT.

_Robert and Cora are on a bench, watching the nannies play_  
_with George and Sybil._

_George is walking, though unsteadily. He hands a wheeled_  
_wooden horse solemnly to Robert, who laughs._

ROBERT  
He's a serious little chap. Always  
keeping tabs. He reminds me of  
Mary already.

CORA  
It's time to get Rose settled.

ROBERT  
Well, It's quite a different world  
now, isn't it? Isn't she a bit  
young?

CORA  
Our minister of fun will be a bit  
young in her sixties. It's time.

ROBERT  
I'm sure you're right.

CORA  
A whole new set of dinners and  
introductions to suitables. Your  
mother must have the list ready.

ROBERT  
Will you see Mama today?

CORA  
No, she's off on some charity  
errand with cousin Isobel.  
But we'll start this week. The  
sooner the better.

EXT. ISOBEL'S HOUSE. DAY.

_Isobel is stepping into the car with __Violet._

VIOLET  
Where are they?

ISOBEL  
What?

VIOLET  
Your bevy of suitors.

ISOBEL  
How very amusing.

VIOLET  
Perhaps those - coven meetings or  
whatever they are you've been  
hosting have frightened all the men  
off.

ISOBEL  
I'm sure you mean the women's teas  
I host every fortnight. And no man  
should be frightened by the idea of  
women empowered.

VIOLET  
Heavens, to hear those words next  
to each other has chilled MY blood.

ISOBEL  
I'm not surprised.

VIOLET  
Why haven't you invited me?

(BEAT)

ISOBEL  
I'm afraid you'll use the wrong  
spoon and embarrass me.

VIOLET  
No, I mean why haven't you invited  
me for cards?

ISOBEL  
Are you serious?

VIOLET  
Well why should it always be when  
one is sick that one gets to play  
cards? It's not as if we're  
wagering. Your reputation could  
hardly handle one more black mark.

_Isobel stares at Violet in astonishment as the car drives_  
_off._

INT. DRAWING ROOM.

_Cora is at her desk. Rose enters and hesitates._

ROSE  
Cousin Edith is going to London  
tomorrow. I thought I'd go with  
her.

CORA  
I think you'll be too busy.

ROSE  
I will?

CORA  
Yes. I've spoken to your great  
aunt, and she is lining up  
suitables.

(BEAT)

ROSE  
Already?

CORA  
I think it's best.

ROSE  
But-

CORA  
Now, this will be a very exciting  
time for you. We'll have new  
frocks and dinners and meet some  
lovely, decently suitable men.

ROSE  
It's just that, well-

CORA  
It's time, Rose. Now, we're having  
lunch at Lady Grantham's house  
tomorrow to discuss this further,  
and we'll need to visit the  
dressmaker. I hope you're ready  
for some fun?

ROSE  
Fun?

INT DAY. KITCHEN. ANNA, BAXTER, DAISY.

_Anna scrubbing a shawl._

BAXTER  
I like just a little water with  
child sick. Seems to be enough on  
silk.

ANNA  
I agree. I'll need to trim this as  
well, it's growing fur, I think.

BAXTER  
I've got some freshly sharpened  
scissors. Make the job faster but  
you'll have to be careful.

ANNA  
Thank you.

DAISY  
Anna, I've written down the recipe  
for that gooseberry jam-but I can  
throw a few more jars together this  
weekend. I'm taking some out to the  
farm anyway.

ANNA  
Are you sure?

DAISY  
It's no trouble. I would hate to  
do any canning in a cottage.  
I can put up three more jars of jam  
while I'm canning anyway. You can  
teach me that blanket stitch next  
weekend instead.

ANNA  
Yes, alright. Thank you Daisy.

_Anna takes the scissors from Baxter._

ANNA (CONT'D)  
Thank you, Miss Baxter.

_Baxter leans back against the counter next to Anna. It's_  
_clear a friendship has been growing between them._

BAXTER  
Do you know, I had a mystery stain  
once. Most awful thing I'd ever  
seen. After one of their parties.  
And the lady did not want to  
discuss its origins.

_Anna smiles, glancing around. Daisy is listening in. Baxter_  
_begins to laugh. Anna is trimming the shawl and looking up_  
_at Baxter. They are gathered tightly, listening to Baxter._

BAXTER (CONT'D)  
The blouse was of course a  
favorite. I had to try to save it.  
But the lady wouldn't talk about  
it. I was forced to make a guess.

_Anna looking slightly scandalized. Over Baxter's shoulder we_  
_see Thomas at the back of the kitchen, just behind a corner,_  
_eavesdropping._

BAXTER (CONT'D)  
Well , one of the gentlemen at the  
party had brought some exotic  
beast. Some kind of cat on a  
leash. He kept it under the table  
through dinner.

_General giggling ensues._

_Bates enters the kitchen behind Anna as she slips with the_  
_scissors, dropping the shawl on the counter so as not to_  
_bloody it._

ANNA  
Oh!

_Bates sucks air through his teeth, rushes to her._

BATES  
What have you done?

ANNA  
It's a scratch.

BATES  
You're bleeding!

ANNA  
It's nothing.

BATES  
Miss Baxter, the first aid kit,  
please.

_Baxter hands it to him, shooting a look at Anna. Anna takes_  
_a breath._

ANNA  
John-

_He is busily bandaging her hand. Baxter looks back to see_  
_Thomas, then turns back to Anna. Mrs. Patmore peers over_  
_Anna's shoulder to see what the fuss is._

PATMORE

Have the heavens come crashing down? Do you need help?

BATES  
No, I've got it. (To Anna) You  
should be more careful.

PATMORE  
That big bandage-for that?

BATES  
She's bleeding.

PATMORE  
We bleed our lives away here in the  
kitchen. And burn them away, too.  
Don't we, Daisy?

BATES  
Thank you, Miss Baxter.

_Bates and Anna's eyes meet._

_Baxter puts away the first aid kit and walks toward the back_  
_of the kitchen. She rounds the corner. Thomas steps into_  
_her path between doorways. They are in shadow._

THOMAS  
What happened?

_Baxter is no longer afraid of him._

BAXTER  
Meaning what?

THOMAS  
Between Bates and Anna. What  
happened to them?

_Baxter digs in her heels and makes direct eye contact with_  
_Thomas._

BAXTER  
I don't know.

THOMAS  
You're a bad liar.

BAXTER  
I am much better at other things.  
I'm much better at the truth.

THOMAS  
Well, you need to be better at  
keeping the deal-

BAXTER  
I've told you. I don't care -

THOMAS  
Then you will force me to divulge  
what I know.

_Baxter leans forward._

BAXTER  
I'm not entirely without ammunition  
myself.

_Thomas takes a breath._

THOMAS  
What is that supposed to mean?

_She holds his eyes for a long moment._

BAXTER  
It means, do your worst.

_Thomas' expression changes._

_Baxter walks away from him, through the kitchen, down the_  
_hallway. She passes Anna and John in the boot room, speaking_  
_in low voices._

INT. BOOT ROOM.

ANNA  
You can't wrap me in silk and keep  
me in a drawer.

BATES  
I don't want to-

ANNA  
You worry too much. Over nothing.

BATES  
Not over nothing.

_They are silent for a moment, sharing the thought._

ANNA  
That's not what I meant.

BATES  
It's only that-

ANNA  
Look at me. What do you see?

_He smiles gently at her._

ANNA (CONT'D)  
You know what I mean.

_He's not sure._

ANNA (CONT'D)  
I'm-moving along now. Some things  
will never be over but-

BATES  
As in war. Some injuries of the  
heart and the mind never entirely  
go away.

ANNA  
And you understand that. You've  
always understood so much about me,  
about what it was like. You've  
taken such loving care of me, John.  
But...

BATES  
But?

ANNA  
Are YOU still having nightmares?

_He does not like admitting this._

BATES  
Sometimes.

ANNA  
I hardly ever have them now.

_His hand on her cheek._

BATES  
You're so strong.

ANNA  
It's not that. It's-it's time.  
It's time for me to move along.  
I'm ready to let some things go. I  
think I am. No, I know I am. I'm  
ready but you're not.

_He's confused and silent. She sighs and pulls him close._

ANNA (CONT'D)  
I love you.

_He holds her._

BATES  
I adore you.

ANNA  
I know.

_She draws back and looks up at_  
_him._

ANNA  
So, when you look at me-SEE me.  
Not what should have happened in a  
perfect world. Not the injuries.  
Not the uphill climb. See-ME.  
Now.

EXT. DAY. FARMHOUSE.

_Edith looks around the corner of the farmhouse seeing Mary,_  
_Tom and Drew walking toward the house._

MARY  
I agree that a poultry concern is a  
fairly easy way to increase  
revenue, particularly if we  
specialize-

_Edith runs around the front of the farmhouse. Tom rounds the_  
_corner first, glimpsing her._  
_Edith looks at him wide-eyed, shaking her head. Tom stops,_  
_silent. Mary bumps into him from behind._

MARY (CONT'D)  
What is it?

TOM  
Huh? Nothing.

_Edith has gone behind the house now, out of sight._

MARY  
Tom?

TOM  
Well, it's a question of  
separation, isn't it? Which farm  
on the estate would have the most  
room for it, and who will manage  
it?

MARY  
Yes. (To Drew) Would you be  
interested in a promotion to  
overseer?

INT. MRS HUGHES OFFICE. CARSON ENTERS.

(BEAT)_ They look at each other._

CARSON  
Were you, then - are you-thinking  
of leaving?

HUGHES  
Oh, no. It's just an overnight in  
London. Did I worry you?

CARSON  
Of course not.  
It's only-I can't imagine running  
this house without you.

HUGHES  
Well, don't imagine it.

_She is leaving the office._

HUGHES (CONT'D)  
In the worst case I'm sure Anna  
could-

_He takes her hand and stops her._

CARSON  
That's not what I meant.

_They pause, her hand in his, looking at each other._

_Hughes rescues them both._

HUGHES  
I'm not leaving. Or I'm never  
coming back, not unless let me get  
on. And it's time for you to ring  
the dressing gong.

_She is laughing at him. Close-up on their hands. Hughes_  
_squeezes Carson's hand before she drops it and leaves the_  
_office._

INT. HALLWAY. EDITH SEES TOM.

_They are both dressed for dinner. Edith pulls Tom aside,_  
_looking up and down the hallway._

EDITH  
When you were leaving the farm  
house-Mary didn't see me, did she?

TOM  
I don't think so.

EDITH  
Tom-

TOM  
It's none of my business. But you  
know I won't say anything.

EDITH  
I know-but-I think I need a  
confidant. Someone on my side in  
this house.

_Tom hesitates._

EDITH (CONT'D)  
Do you think you could be that? Be  
my friend.

TOM  
We are friends.

EDITH  
I know. But-I may need an ally.

TOM  
We're allies, too. The way I see  
it.

EDITH  
Yes.

_He waits._

EDITH (CONT'D)  
Tom, I may want to tell you  
something...

SERVANT'S HALL, JUST OUTSIDE THE DOORWAY.

_Only Thomas and Mosely are within, adjusting their gloves and_  
_waistcoats as they prepare to serve dinner._

THOMAS  
It's important to know your  
friends, isn't it? Because  
everyone has got secrets.

MOSELY  
What are you getting at, Mr.  
Barrow?

THOMAS  
Only that before one gets too  
close, one should have all the  
information.

MOSELY  
I'm not interested in your brand of  
information.

_Anna stops in the hall outside the doorway, not wanting to_  
_interrupt._

THOMAS  
You might be.

MOSELY  
Count on one thing. I am not  
interested. Further I must insist  
once more that you leave Miss  
Baxter alone. I'm tired of  
watching you bully her. Everyone  
is tired of your bullying.

_Anna turns back, smiling a little to herself. She sees_  
_Baxter walking toward her. Anna moves toward Baxter._

ANNA  
Why don't we go this way?

_Pulls her back down the hall._

BAXTER  
Why?

ANNA  
We don't want to interrupt the  
joust. Your champion is winning.

_Baxter looks past Anna's shoulder and sees Mosely step into_  
_the hall, straightening his waistcoat, head high. She smiles_  
_briefly, but then suddenly pulls Anna into the boot room._

BAXTER  
May I have a word?

ANNA  
Of course.

BAXTER  
Have you-have you ever had a  
secret? Something you couldn't  
tell anyone?

ANNA  
Go on.

BAXTER  
Have you ever been afraid of  
someone discovering the truth and  
how they might-respond to that  
information?

ANNA  
I'll tell you my experience, though  
it's only mine. That the  
information is almost always worse  
when it's a secret. That same  
information when brought to light...  
well, I've been very lucky.

_Baxter is looking at her hands, worrying. Anna puts a hand_  
_on Baxter's wrist._

ANNA (CONT'D)  
You are valued here. Especially in  
contrast to your predecessors,  
you're very well liked. And you're  
a top-notch ladies maid. Her  
Ladyship would be lost without you.

BAXTER  
Quite a compliment, from you.

ANNA  
Whatever it is, it's most likely  
going to be better in the long run  
if you bring it into the open. I  
don't know of course, some secrets  
can destroy a person. But  
sometimes the keeping of the secret  
is what can destroy you.

BAXTER  
I know.

INT. HALLWAY.  
_Lady Mary is passing Bates._

MARY  
Oh, Bates.

BATES  
My Lady?

MARY  
Is my father leaving for London  
again next week? I can't seem to  
find him.

BATES  
Yes, My Lady.

MARY  
You'll go with him, of course.

BATES  
Yes.

MARY  
I wanted to say-I value the way you  
look after my father.

BATES  
It is the job, My Lady.

MARY  
I mean beyond the job. And I think  
you know what I mean. I wanted to  
say-that I appreciate that. Your  
loyalty. Anna's loyalty. It means  
a very great deal. It always will.

_A pause. They understand each other._

BATES  
Thank you, My Lady.

MARY  
When you see my father would you  
please ask him to meet me in the  
library before dinner?

BATES  
Very good, my lady.

_They exchange a smile._

INT. LIBRARY. ROBERT AND MARY.

ROBERT  
Poultry now? Whatever next,  
zebras? Are we to have a full  
menagerie?

MARY  
Shall I show you the numbers again?  
There's yet more to be done, Papa,  
to reach a sustainable income.

ROBERT  
What does Tom say?

MARY  
Why do you need to hear from Tom on  
this? Do you suppose I've made up  
the figures?

ROBERT  
He's the one with the most real  
farming experience.

MARY  
I've been gaining quite a lot of  
experience, thank you. And I have  
far more at stake than Tom.

ROBERT  
I don't want to talk business any  
more tonight. It will ruin dinner.  
Let's forget it for now.

MARY  
We need to act soon, Papa. The  
markets are changing. There are  
more estates doing the same thing  
we are and we can't afford to get  
behind in the market trends.

ROBERT  
Good God, I barely recognize you  
anymore. The way you talk. You  
sound like your American uncle.

MARY  
Fine. We'll talk about it  
tomorrow. But I will have some  
errands in London regarding  
business, perhaps you'd be kind  
enough to help me with them.

ROBERT  
Run business errands. For you. In  
London?

MARY  
If for no other reason, for a  
better future for George.

_Robert sighs. He is relieved to see Cora in the doorway._

CORA  
Let's go through. That's enough  
business for tonight.

ROBERT  
We've already had enough business for a  
lifetime.

_Mary and Cora's eyes meet. They go on to dinner._

INT. COTTAGE. NIGHT.

_A lamp burns softly in the bedroom. Bates is in bed. Anna,_  
_in her nightgown, sits on the bed with her back to him._

BATES  
I've been thinking about what you  
said.

ANNA  
Yes?

BATES  
I've been holding you back.

_She turns to look at him._

ANNA  
Stop that. That's an exaggeration.

_She turns her back to him again with a slight toss of her_  
_head. He reaches up and takes the pins from her hair, which_  
_cascades in the lamp light as John watches. It's clearly one_  
_of the best moments of his day._

BATES  
But if I'm not keeping up with you-

_Anna turns to him._

ANNA  
What can I do to make the  
nightmares better? You made mine  
better.

(BEAT)

_Anna moves closer. Caresses his face._

_His hands are in her hair._

ANNA (CONT'D)  
Maybe I need to show you - more  
often - just how much better I am  
now.

_Close-up as they gaze at each other. Anna goes in for a_  
_kiss. He pulls her up, throwing the covers over her. She's_  
_above him now, kisses him again, longer this time. The heat_  
_is building between them._

BATES  
I want to be where you are, and  
with you every step. I want that-  
forever.

ANNA  
I know. So let's get caught up.  
Now.

_His arms close around her._

Long shot outside the cottage. The lamp light fades out.

THE END

Credits.


End file.
